•^••'. 


FROM   THE   LIBRARY   OF 
REV.    LOUIS    FITZGERALD    BENSON.   D.  D. 

BEQUEATHED    BY   HIM   TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL   SEMINARY 

sec 


755^ 


ADORES 


ON 

CHURCH   MUSIC: 

DELIVERED    BY    REQUEST, 

ON    THE    EVENING    OF    SATURDAY,   OCTOBER  7,    1826, 

IN  THE  VESTRY  OF  HANOVER  CHURCH, 

AND   ON   THE    EVENING   OF   MONDAY   FOLLOWING, 

IN  THE  THIRD  BAPTIST  CHURCH. 
BOSTON. 


& 


BY  LOWELL  MdSON. 


REVISED    EDITION. 


iSosto n : 

HILLIARD,    GRAY,    LITTLE,    AND    WILKINS. 


T.  R.  MARVIN,  PRINTER. 

1827. 


DISTRICT  OF  MASSACHUSETTS to    wit 

District  Clerk's  Office. 

Be  it  remembered,  that  on  the  eighth  day  of  May.  A.  D.  1827,  in  the  fifty  first 
Year  of  the  Independence  of  the  United  States  of  America,  Theophilus  R. 
Marvin,  of  the  said  District,  has  deposited  in  this  Office  the  Title  of  a  Book,  the 
Right  whereof  he  claims  as  Proprietor,  in  the  Words  following,  to  wit  : 

Address  on  Church  Music  :  delivered  by  request,  on  the  evening  of  Saturday, 
October  7,  1826,  in  the  Vestry  of  Hanover  Church,  and  on  the  evening  of  Monday 
following,  in  the  Third  Baptist  Church,  Boston.     By  Lowell  Mason. 

In  conformity  to  the  Act  of  the  Congress  of  the  United  States,  entitled  "  An  Act 
for  the  encouragement  of  learning,  by  securing  the  copies  of  maps,  charts  and  books, 
to  the  authors  and  proprietors  of  such  copies,  during  the  times  therein  mentioned:*'' 
and  also  to  an  Act  entitled  "  An  Act  supplementary  to  an  Act,  entitled  An  Act  for 
the  encouragement  of  learning,  by  securing  the  copies  of  maps,  charts  and  books  to 
the  authors  and  proprietors  of  such  copies  during  the  times  therein  mentioned;  and 
extending  the  benefits  thereof  to  the  arts  of  designing,  engraving  and  etching  histori- 
cal and  other  prints." 

JNO.  W.  DAVIS.  Clerk  of  the  District  of  Massachusetts. 


To  Lowell  Mason,  Esq. 

Sir.— Having  heard  the  Address  which  you  delivered  in  the  Vestry  of  Hanover 
Church  and  in  the  Baptist  -Meeting  House  in  Charles-street,,  on  Church  Music,  and 
believing  it  adapted  to  awaken  interest  and  promote  correct  views,  with  respect  to 
that  important  subject,,  we  respectfully  solicit  a  copy  for  publication  ;  and  in  doing 
this,  we  are  confident  we  speak  the  language  of  those  who  were  present. 

LYMAN  BEECHER, 
DANIEL  SHARP, 
B.  B.  WISNER, 
JEREMIAH  EVARTS, 
WILLIAM  ROPES. 
Boston,.  Oct.  10,  1826. 


Boston',  October  11,  1826. 
Gentlemen', — The  Address  on  Church  Music,  delivered  in  the  Vestry  of  Hano- 
ver Church.,  in  this  city,  on  Saturday  evening,  7th  inst.  and  in  the  Third  Baptist 
Church  on  the  Monday  evening  following,  was  prepared  on  very  short  notice  and 
amidst  numerous  engagements.  Being  about  to  leave  the  city,  it  is  impossible  for 
me  to  give  it  a  thorough  revision.  The  hope,  however,  that  imperfect  as  it  is,  it 
may  have  some  tendency  to  call  the  attention  of  Christians  to  a  much  neglected  but 
pleasing  and  important  part  of  public  worship,  induces  me  to  yield  to  your  request 
of  a  copy  for  publication. 

Very  respectfullv, 

L.  MASON. 


ADDRESS 


Church  Music  is  a  divine  institution.  The 
numerous  examples  in  the  old  testament,  together 
with  the  hymn  at  the  institution  of  the  sacramental 
supper ;  the  singing  of  Paul  and  Silas  in  prison,  as 
well  as  direct  precepts  and  exhortations  in  various 
parts  of  scripture,  are  sufficient  to  place  the  truth 
of  this  position  beyond  the  possibility  of  a  rational 
doubt.  Accordingly,  we  find  that  music  has  been 
employed  in  the  worship  of  God,  in  all  ages  of  the 
church. 

The  object  or  design  of  its  institution  is  no  less 
obvious.  "  Moses  and  the  children  of  Israel  sang 
this  song  unto  the  Lord" — "  O  come  let  us  sing 
unto  the  Lord" — "  It  is  good  to  sing  praises  unto 
our  God," — "  At  midnight  Paul  and  Silas  prayed 
and  sang  praises  unto  God."  To  animate  and 
enliven  the  feelings  of  devotion  is  undoubtedly  the 
office  of  music  in  the  church. 

Through  the  medium  of  music,  truth  is  presented 
to  the  heart  in  the  most  forcible  manner  ;  the  feel- 
ings are  aroused — the  affections  elevated.     "  It  was 


for  the  raising  up  of  menh  hearts,  and  the  sweetening 
of  their  affections  towards  God"  says  Hooker,  "  that 
the  prophet  David,  having  had  singular  knowledge, 
not  in  poetry  alone,  but  in  music  also,  judged  them 
both  to  be  things  most  necessary  for  the  house  of 
God  ;  and  left  behind  him  to  that  purpose  a  number 
of  divinely  indited  poems  ;  and  was  further  the  au- 
thor of  adding  unto  poetry,  melody  in  public  prayer, 
in  which  considerations,  the  church  of  Christ  doth 
likewise,  at  the  present  day,  retain  it  as  an  ornament 
to  God's  service,  and  an  help  to  our  own  devotion"* 
It  is  as  a  religious  exercise  only,  that  we  are  au- 
thorized to  introduce  music  into  the  church,  and 
from  religious  motives  should  Christians  be  induced 
to  cultivate  an  acquaintance  with  it.  That  there  is 
no  religion  in  music,  is  readily  admitted  :  but  music 
is  capable  of  subserving  a  religious  purpose  :  were  it 
not  so,  it  would  never  have  been  introduced  into  the 
church  by  divine  appointment.  There  is  no  re- 
ligion in  eloquence  :  but  who  does  not  acknowledge 
its  importance  to  the  minister  of  the  Gospel  ?  Who 
has  not  felt  the  words  of  divine  truth  sink  deep  into 
his  heart,  when  they  have  been  accompanied  with 
the  thrilling  and  irresistible  tones  of  an  earnest  and 
commanding  elocution  ?  Music  has  a  similar  pow- 
er :  it  can  move,  or  melt,  or  rouse,  an  audience  ; 
and  ought,  therefore,  to  be  made  a  powerful  auxiliary 
to  the  faithful  preacher. f     Music  is  a  refined  species 

*  Eccl.  Polity,  Book  V.  Sec.  38. 

t  The  effect  of  music  upon  St.  Augustin,  he  thus  describes  : — "  How  abundantly 
did  I  weep  before  God,  to  hear  those  hymns  of  thine  ;  being  touched  lo  the  very 
quick,  by  the  voices  of  thy  sweet  church  song.     The  voices  flowed  into  my  ears;  and 


of  elocution  ;  and,  as  such,  its  office  is  to  enforce 
upon  the  heart  the  sentiment  which  is  sung.*  It 
ought  to  do  this  more  effectively  than  the  simple 
reading  of  the  same  words  could  do,  although  they 
were  to  be  read  in  the  best  manner  possible ;  for 
otherwise  it  would  be  useless.  It  were  better  that 
music  should  not  be  introduced  at  all  into  public 
worship,  if  it  fail  to  accomplish  this  end.  Indeed 
its  influence  in  the  church  cannot  be  of  a  merely 
negative  character.  Musical  taste  is  much  more 
intimately  connected  with  religious  feeling  than  is 
generally  supposed.  It  cherishes  on  the  one  hand, 
or  destroys  on  the  other,  those  pious  emotions  which 
public  and  social  worship  is  designed  to  call  into 
exercise. 

Singing  the  praises  of  God  is  a  part  of  the  public 
services  of  religion,  which,  when  properly  conduct- 
ed, makes  its  appeal  directly  to  the  heart,  and  is  at 
once  solemn  and  delightful  :  but  when  badly  con- 
ducted, it  becomes  rather  a  hindrance  than  a  help  to 

thy  truth  pleasingly  instilled  into  my  heart ;  which  caused  the  affections  of  my  devo- 
tion to  overflow,  and  my  tears  to  run  over  ;  and  happy  did  I  find  myself  therein." — 
Confessions,  Lib.  IX.  Cap.  6. 

Edwards,  in  describing  the  blessed  effects  of  the  revival  of  religion  at  North- 
ampton, in  1735,  speaks  thus  of  singing  : — "  Our  public  praises  were  then  greatly 
enlivened  ;  God  was  then  served  in  our  psalmody,  in  some  measure,  in  the  beauty 
of  holiness.  It  has  been  observable,  that  there  has  been  scarce  any  part  of  divine 
worship,  wherein  good  men  amongst  us  have  had  grace  so  drawn  forth,  and  their 
hearts  so  lifted  up  in  the  ways  of  God,  as  in  singing  his  praises  :  our  congrega- 
tion excelled  all  that  ever  I  knew,  in  the  external  part  of  the  duty,  before  ;  the  men 
generally  carrying  regularly,  and  well,  three  parts  of  music,  and  the  women  a  part 
by  themselves  :  but  now  they  were  evidently  wont  to  sing  with  unusual  elevation  of 
heart  and  voice,  which  made  the  duty  pleasant  indeed." — Narrative  of  Surprising 
Conversions. 

+  This  was  well  understood  by  the  ancients,  especially  the  Grecians;  and  is  it  not 
probable,  that  a  high  tone  of  oratorical  elocution  in  their  performances  gave  to  their 
music  that  astonishing  influence  upon  the  passions,  of  which  we  read  in  history  ? 


8 

devotion,  and  often  prevents,  in  a  great  degree,  the 
good  effects  which  might  otherwise  result  from  the 
services  of  the  Sabbath. 

Now  if  we  merely  glance  at  church  music,  as  it 
exists  and  is  conducted  in  many  churches  at  the 
present  day,  we  cannot  fail  to  be  convinced,  that  it 
falls  far  short  of  producing  its  legitimate  effects. 
"  Of  all  our  religious  solemnities,"  says  Dr.  Watts, 
"  psalmody  is  the  most  unhappily  managed.  The 
very  action,  which  should  elevate  us  to  the  most  de- 
lightful and  divine  sensations,  doth  not  only  flatten 
our  devotions,  but  too  often  touches  all  the  springs 
of  uneasiness  within  us."  This  remark  is  strictly 
applicable  to  much  of  the  church  music  of  our 
country  at  the  present  day.  The  manner  in  which 
this  duty  is  frequently  performed,  is  not  only  calcu- 
lated to  excite  disgust  in  the  man  of  musical  taste 
and  feeling,  but  to  "  flatten  the  devotions"  of  the 
Christian  ;  to  withdraw  the  attention  from  the  sub- 
ject of  the  words  ;  to  irritate  the  feelings,  and  thus 
to  unfit  the  mind  for  the  other  exercises  of  the 
Sabbath  ;  and  perhaps  it  is  not  too  much  to  say, 
that,  in  general,  notwithstanding  the  improvement 
which  has  been  made  within  a  few  years  past,  the 
improprieties  still  attending  the  singing  in  public 
worship,  are  so  numerous,  and  so  obvious,  as  to 
frustrate,  in  a  great  measure,  the  design  of  the  insti- 
tution. 

The  principal  reason  for  the  present  degraded 
state  of  church  music,  seems  to  be,  that  its  design 


has  been  forgotten,  and  its  cultivation  as  a  religious 
exercise,  neglected.  It  is  a  fact,  that  while  music  is 
regarded  almost  universally  as  a  necessary  appen- 
dage to  public  and  social  worship,  its  importance  as 
a  devotional  exercise,  is  in  a  great  measure  over- 
looked. Hence  it  is  often  given  up,  almost  ex- 
clusively, into  the  hands  of  those  who  have  no 
other  qualifications  than  mere  musical  talent ;  and 
who,  being  destitute  of  any  feelings  of  piety,  are 
almost  as  unfit  to  conduct  the  singing  of  the  church, 
as  they  would  be  the  preaching  or  the  praying. 
Having  been  furnished  by  nature  with  an  ear  to 
appreciate  the  melody  of  sweet  sounds,  such  persons 
take  up  church  music  as  a  mere  amusement,  and 
pursue  it  solely  with  reference  to  the  tasteful  gratifi- 
cation it  affords  them.  In  proportion,  therefore,  as 
they  are  enabled  to  delight  themselves,  and  to  draw 
forth  the  applause  of  others,  by  communicating  the 
same  feelings  to  them,  in  the  same  proportion  they 
succeed  in  accomplishing  the  object  of  their  exer- 
tions. 

Not  only  do  singers  disregard  the  true  object 
of  church  music,  and  pervert  its  use ;  but  its 
design  is  also  overlooked  by  a  large  proportion  of 
those  who  compose  our  worshipping  assemblies. 
Even  Christians  seem  to  be  unmindful  of  its  im- 
portance as  an  act  of  religious  worship.  Indeed,  it 
is  too  commonly  the  case,  that  the  music  of  the 
church,  like  that  of  the  theatre,  is  employed  only  to 
give  variety  to  the  performances,  and  to  relieve  the 
mind  from  a  too  constant  attention  to  the  subject ; 


thus  affording  a  kind  of  interlude  to  religious  wor- 
ship, or  a  little  recreation  from  the  tediousness  of 
an  hour's  devotion  ;  or,  perhaps,  an  opportunity  for 
the  minister  to  review  his  sermon,  or  for  the  people 
to  look  round  upon  one  another. 

Can  any  good  be  expected  to  arise  from  the 
institution  under  such  circumstances  ?  Can  church 
music  thus  conducted  be  regarded  as  an  exercise  of 
devotion,  or  be  expected  to  excite  or  cherish  reli- 
gious feeling  ?  Certainly  not.  It  has  nothing  to  do 
with  religion,  unless,  indeed,  it  be  to  interrupt  the 
meditations  of  the  pious,  to  dissipate  the  serious 
feelings  of  the  awakened,  and  to  lull  into  greater 
stupidity  the  thoughtless  and  secure,  and  thus  to 
counteract  the  object  of  its  introduction  into  the 
church.  In  vain,  under  such  circumstances,  shall 
we  look  to  the  singing  for  aid  in  our  devotions.  In 
vain  will  the  minister  expect,  after  having  spent  his 
whole  strength  in  a  faithful  sermon,  and  labored 
earnestly  and  affectionately  for  the  salvation  of  his 
people,  through  the  precious  season  of  the  Sabbath, 
to  deepen  the  impression  as  he  closes  the  service 
of  the  day  by  singing  a  psalm  or  hymn.  Rather 
will  he  have  reason  to  fear  for  the  effect  of  the 
closing  exercise,  and  tremble  lest  that  state  of  anx- 
ious feeling,  which,  under  God,  he  has  been  ena- 
bled to  call  forth,  and  which  excites  his  warmest 
hopes,  will  be  in  a  great  measure  dissipated  by  an 
exhibition  of  musical  talent,  or  a  flourish  of  clari- 
nets and  bassoons,  or  flutes  or  viols,  or  a  brilliant 
display  of  execution  on  the  organ  just  as  the  con- 


11 

gregation  are  about  to  disperse.  Banish  singing 
from  the  church — consign  our  hymn  books  to  the 
flames — and  hang  the  harps  of  Zion  upon  the  wil- 
lows, rather  than  that  such  should  be  the  effects 
of  music. 

Now  if  Christians  had  not  lost  sight  of  the  real 
object  of  sacred  music,  is  it  possible  to  believe  that 
the  prevailing  abuses  of  it  would  be  tolerated  ?  In 
what  estimation  would  a  congregation  be  supposed 
to  hold  the  other  exercises, — prayer,  for  example, 
— if,  instead  of  listening  with  devout  attention,  and 
endeavouring  to  lift  up  their  hearts  unto  God,  they 
were  to  look  upon  it  as  a  mere  exhibition  of  elocu- 
tion, or  improve  the  opportunity  to  look  around 
and  see  who  is  and  who  is  not  at  church,  or  make 
it  a  signal  for  restlessness  and  noise  ?  But  how 
frequently  is  it  the  case,  when  the  most  profound 
silence  and  attention  have  prevailed  during  all  the 
other  parts  of  service — even  while  the  minister  is 
reading  the  psalm  or  hymn — that  the  subject  of 
song  is  forgotten,  the  moment  the  singing  com- 
mences, amidst  the  musical  parade  that  attends  it. 
The  mind  which  was  attentive  during  the  reading 
of  the  words,  is  withdrawn  from  the  subject,  the 
moment  in  which  that  exercise  commences,  whose 
express  design  should  be  to  deepen  the  impression 
already  made  by  the  words,  and  quicken  emotions 
already  kindled.*  Surely  in  no  part  of  public  wor- 
ship is  the  guilt  of  "  drawing  nigh  to  God  with  our 
mouth  and  honoring  him  with  our  lips,  while  our 

*  See  Review  of  Handel  and  Haydn  Coll.  Church  Music-  in  Chr.  Advocate. 


12 

hearts  are  far  from  him,"  so  frequently,  so  con- 
stantly incurred,  as  when  we  profess  to  sing  the 
praises  of  God,  and  to  w  make  melody  in  our  hearts 
unto  the  Lord." 

Such  is  a  very  brief  and  imperfect  view  of  the 
nature  and  design  of  church  music,  and  of  its  pre- 
sent degraded  state.  The  remedy  for  this  state  of 
things  cannot  fail  to  suggest  itself  to  every  one  who 
loves  the  public  exercises  of  religion,  and  is  desirous 
of  deriving  benefit  from  them. 

The  church  must  take  up  the  subject :  the  influ- 
ence of  piety  must  be  brought  to  bear  upon  it — the 
influence  of  that  same  spirit  of  the  Gospel  which  is 
so  manifest  in  the  benevolent  exertions  of  the  pre- 
sent day.  The  proper  object  of  church  music  must 
be  understood ;  and  Christians  must  cultivate  it  as 
a  part  of  religious  duty.*  The  fact  of  its  being  a 
divine  institution,  is  sufficient  to  show  its  importance ; 
and  if  God  has  himself  introduced  it  into  the  church, 
Christians  may  not  safely  disregard  it,  or  omit  to 
perform  their  duty  in  relation  to  it. 

But  what  is  the  duty  of  Christians  on  this  subject? 
To  this  question  we  answer,  that  it  is  undoubtedly 
their  duty  to  cultivate  music  so  far  as  to  be  able  to 
engage  in  singing  as  a  part  of  religious  worship  with 

*  "  If  persons  be  now  not  capable,  because  they  know  not  how  to  sing,  that  doth 
not  excuse  them,  unless  they  have  been  incapable  of  learning.  As  it  is  the 
command  of  God,  that  all  should  sing,  so  all  should  make  conscience  of  learn- 
ing to  sing,  as  it  is  a  thing  which  cannot  be  decently  performed  at  all  without  learn- 
ing. Those,  therefore,  who  neglect  to  learn  to  sing,  live  in  sin,  as  they  neglect  what 
is  necessary  in  order  to  their  attending  one  of  the  ordinances  of  God's  worship." 
— Edward's  Sermon  on  Self- Examination. 


13 

decency  and  propriety  ;  to  the  edification  of  them- 
selves and  others.  And  that  which  is  the  duty  of 
Christians  in  relation  to  this  subject,  is  the  duty  of 
all.  Music  is  an  art ;  and  is  to  be  regularly  culti- 
vated, in  its  own  measure,  like  painting,  or  poetry, 
or  sculpture,  or  architecture.  We  cannot  expect  to 
derive  benefit  from  it,  if  we  suffer  it  to  lie  neglected. 
In  the  secular  department  this  principle  is  well  un- 
derstood. The  music  of  the  field,  of  the  drama, 
and  of  the  chamber,  is  cultivated.  Among  the 
wealthy,  every  parlour  must  be  furnished  with  a 
piano,  and  every  family  must  have  the  services  of 
a  teacher :  the  sonata,  the  song,  the  march,  the 
waltz,  must  be  made  familiar  even  in  Christian 
families.  It  is  only  the  music  of  the  church,  that 
is  left  to  take  care  of  itself,  or  committed  to  un- 
skilful hands. 

Now  we  do  not  complain  that  secular  music  is 
cultivated :  on  the  contrary,  we  rejoice  in  its  pro- 
gress :  for  this,  as  well  as  the  other  fine  arts, 
affords  a  rational  and  refined  amusement ;  it  is 
the  source  of  exquisite  delight  to  the  man  of 
taste  and  cultivation ;  and  it  undoubtedly  contri- 
butes to  the  happiness  and  moral  improvement  of 
mankind.  But  we  do  complain  that  sacred  music 
should  be  so  totally  neglected;  and  this,  too,  by 
those  who  acknowledge  its  importance  as  a  part 
of  religious    worship. 

The  minister  thinks  it  important  to  cultivate  the 
art  of  oratory,  and  to  cultivate  it  for  religious  pur- 
3 


14 

poses  :  and  he  spares  neither  time  nor  expense  to 
become  an  accomplished  speaker,  for  he  knows  the 
power  of  eloquence  to  move  the  heart  and  to  enforce 
divine  truth.  It  is  equally  important  for  those,  who 
sing  the  praises  of  God,  to  improve  themselves  in 
their  art,  if  they  would  awaken  devotional  feeling 
in  the  assembly  of  God's  people.  Music  does  not 
spring  up  spontaneously  in  the  human  mind,  grow- 
ing with  its  growth,  and  strengthening  with  its 
strength.  It  bears  more  resemblance  to  the  exotic, 
which  requires  a  delicate  and  attentive  cultivation  ; 
and  until  music  be  cultivated  for  religious  purposes, 
and  with  feelings  arising  from  a  sense  of  religious 
duty,  the  songs  of  Zion  will  continue  to  be  languid 
and  ineffectual. 

The  necessity  of  cultivation  may  be  made  appa- 
rent by   a  mere  glance  at  some  of  those  qualities 
which  are  essential  to  vocal  music.     Among  these 
I       are  tone,  accent,  emphasis,  and  intonation. 

The  importance  of  a  good  tone  of  voice  in  the 
singer  is  universally  acknowledged  ;  as  we  often 
hear  it  said,  such  a  person  has  a  fine  voice,  a  de- 
lightful tone,  &c.  This,  it  is  supposed  by  many,  is 
altogether  a  natural  gift ;  but  such  is  not  the  fact. 
The  organs  of  some  are,  undoubtedly,  much  more 
favorably  constructed  for  the  production  of  pleasing 
sounds  than  those  of  others ;  but  the  very  best 
natural  voice  may  be  vastly  improved  by  cultivation  ; 
.and  there  are  few  persons  so  destitute  of  natural 
qualifications,  as  to  be  unable  to  sing  agreeably  by 
perseverance  in  a  judicious  course  of  practice. 


15 

The  necessity  of  the  cultivation  of  tone  in  elocu- 
tion is  universally  admitted.  But  what  is  singing 
if  not  the  very  soul  of  eloquence  itself?  If  an 
agreeable  tone  of  voice  is  desirable  in  that  species 
of  delivery  which  is  principally  didactic,  and  ad- 
dressed to  the  understanding,  how  much  more  im- 
portant is  it  in  that  which  makes  its  appeal  directly 
to  the  heart !  The  importance  of  articulation,  accent, 
emphasis,  &c.  to  the  orator,  are  universally  admitted. 
It  cannot  be  necessary  to  show  that  they  are  equally 
important  to  the  singer.  Correct  intonation,  or  an 
ability  to  sing  exactly  in  tune,  is  a  quality  of  very 
great  importance  to  the  singer,  and  is  moreover  a 
thing  not  easily  acquired  :  it  is  not  to  be  attained 
but  by  much  practice.  The  gift  of  a  musical  ear, 
upon  which  intonation  is  principally  dependent,  has 
been,  in  some  instances,  to  a  considerable  degree, 
withheld  from  our  species.  There  are  very  many 
who  are  unable  to  appreciate  musical  sounds,  or 
sing,  with  any  tolerable  degree  of  accuracy,  the 
natural  scale  of  music,  till  after  having  bestowed 
considerable  attention  to  the  art.  And,  as  it  is  with 
the  voice,  so  it  is  with  the  ear  :  its  very  best  natural 
condition  is  imperfect,  and  needs  cultivation.  An 
ability  to  learn,  and  a  general  fondness  for  musical 
sounds,  which  may  be  improved,  seem  to  be  the 
talents  bestowed  in  this  case.  Nature  has  perhaps 
done  the  same  for  the  musician  as  for  the  orator  ; — 
has  given  him  a  natural  capacity  which,  by  industry, 
and  perseverance,  may  be  improved  and  brought  to 
a  great  degree  of  perfection.     But  music  is  abso- 


16 

lutcly  dependent  upon  correct  intonation.  Without 
it  singing  is  intolerable  ;  and  instead  of  the  '  concord 
of  sweet  sounds' 

"  Awaken'd  discord,  shrieks,  and  scolds,  and  raves, 
Wild  as  the  dissonance  of  winds  and  waves." 

•;  Where,  when  our  ears  are  thus  assailed,  shall  we 
find  that  sentimental  appeal  to  the  heart,  which  con- 
stitutes the  chief  excellence  of  music,  and  is  the 
principal  object  contemplated  in  its  employment  in 
the  church  ?"  No  superiority  in  any  other  requisite 
of  vocal  art  can  supply  a  deficiency  in  correct  into- 
nation ;  and  this  can  only  be  acquired  by  that  w  ell 
directed  exercise,  or  cultivation  of  the  vocal  powers, 
which,  while  it  strengthens  and  enlarges  the  compass 
of  the  voice,  renders  its  obedience  to  the  laws  of 
science  exact  and  undeviating  by  the  acknowledged 
force  of  habit. 

But,  it  will  be  asked,  what  means  arc  Christians 
to  employ  for  the  improvement  of  church  music  ? 
and  how  shall  their  efforts  be  directed  so  as  to  pro- 
duce the  desired  result  ?  Shall  the  whole  congrega- 
tion be  encouraged  to  join  promiscuously,  in  this 
exercise  ? — or  shall  it  be  committed  to  a  select 
choir  ?*    If  the  devotional  effect  of  music  depends 

*  The  music  of  the  primitive  church  was  performed  in  different  methods.  Some- 
times a  single  performer  sung  in  solo ;  sometimes  the  whole  congregation  united  in 
full  chorus  ,  sometimes  the  congregration  was  divided  into  separate  choirs,  which  sung 
in  alternate  succession ;  and  sometimes  a  single  person  commenced  a  verse  in  solo, 
and  the  full  choir  closed  it  in  chorus. — See  Bingham's  Antiq.  Book  14.  Ch.  1.  Also 
Sir  John  Hawkins's  His.  Mns.  Vol.  1.  p.  289.  The  art,  however,  was  then  but  little 
understood  by  Christians  ;  and  in  those  days  of  persecution  and  trial,  they  had 
little  leisure  for  cultivation.  They  worshipped  Jehovah  as  they  had  opportunity  in 
the  same  strains  of  melody  which  they  had  been  accustomed  to  use  in  the  worship  of 


17 

upon  the  mere  circumstance  of  a  person's  engaging 
audibly  in  singing ;  or,  if  it  depend  upon  the  quan- 
tity of  noise  produced  ;  then,  undoubtedly,  the  con- 
gregational mode  is  to  be  preferred.  But  if,  as  has 
been  suggested,  there  is  a  strong  analogy  between 
the  art  of  oratory  and  that  of  music,  if  the  effects 
of  each  are  to  be  produced  by  means  which  are 
somewhat  similar  ;  then  all  will  agree,  that,  from 
such  a  jargon  of  sound  as  will  be  produced  by  a 
large  assembly  of  all  ages  and  descriptions,  engaged 
each  one  in  singing  as  seems  good  in  his  own  eyes, 
but  little  benefit  can  be  expected.  Wherever  con- 
gregational singing  has  prevailed,  there  has  been 
neither  good  tone,  correct  intonation,  distinct  articu- 
lation, nor  proper  emphasis  or  expression.  All  has 
been  jargon  and  tumult. 

Surely  this  mode  of  singing  must  appear  very- 
defective,  if  we  consider  the  means  by  which  music 
operates  upon  the  mind,  or  the  qualifications  which 
are  indispensable  to  the  success  of  the  singer.  If  it 
be  said  that  it  is  the  duty  of  every  man  to  sing  the 
praises  of  God,  and  make  melody  in  his  heart  unto 
the  Lord — it  is  granted  :  so,  also,  it  is  the  duty  of 
every  man  to  pray,  and  by  supplication  make  known 
his  wants  unto  God  ;  and  it  is  no  more  obligatory 
upon  him  to  sing  aloud  in  public  worship,  in  the 

gods  of  wood  or  stone,  previous  to  their  conversion.  They  did  this  as  a  matter  of 
necessity.  They  were  mostly  ignorant  men,  except  as  they  were  taught  by  the 
Spirit.  They  were  not  professed  minstrels  or  composers  ;  nor  had  they  any  models 
of  Christian  psalmody  for  imitation.  Still,  they  did  "  what  they  could  "  in  such 
circumstances ;  and  as  the  public  ear  had  not  then  become  fastidious  through  the 
extensive  cultivation  of  secular  music,  it  was  easy  for  them  to  secure  to  themselves 
the  legitimate  influences  of  music.  We  are  placed  in  circumstances  totally  dif- 
ferent.   Will  it  hereafter  be  said  of  us  that  toe  have  done  what  we  could  ? 


18 

one  case,  than  it  is  to  pray  aloud  in  the  other,  unless 
he  can  do  it  to  general  edification  :  but,  in  both 
cases,  he  is  required  to  worship  God  in  spirit  and  in 
truth.  Besides,  a  man  may  sing  so  as  seriously  to 
disturb  the  devotions  of  others.  Such  cases  are  not 
rare  in  congregational  singing  ;  and  certainly  we 
should  regard  the  edification  and  comfort  of  others 
so  much  as  to  be  willing  for  their  sake,  if  necessary, 
to  prosecute  our  own  devotions  in  a  silent  manner.* 

It  is  sometimes  said  that  there  is  a  peculiar  so- 
lemnity in  the  circumstance  that  the  whole  assembly 
are  engaged,  at  the  same  time,  in  singing  the  praises 
of  God.  "  But  our  feelings  of  solemnity,  as  far  as 
externals  are  concerned,  may  be,  and  often  are,  the 
result  of  mere  custom  or  habit ;  and  surely  when 
they  lead  us  to  adopt  a  course  of  management  that 
has  a  tendency  to  destroy  the  practical  utility  of  an 
important  divine  institution,  they  should  be  impar- 
tially examined  before  they  are  allowed  to  govern 
our  decisions. "t  May  not  the  whole  assembly  en- 
gage spiritually,  in  the  singing,  while  none  but  the 
choir  perform  audibly,  as  easily  as  they  may  engage 
spiritually  in  prayer,  while  no  voice  but  that  of  the 
preacher  is  heard  ? 

There  is  indeed  this  difference  in  the  design  of 
the  two  exercises — the  one  necessarily  employs  but 

*  Let  every  one  who  is  accustomed  to  sing  u  below  "  in  those  congregations  where 
singing  is  conducted  by  a  choir,  ask  himself  whether  his  performances,  although  they 
may  he  edifying  to  himself,  are  not  unpleasant  to  those  who  sit  near  him,  and 
whether  he  may  not  be  the  meaus  of  hindering  their  devotion  ?  The  result  of  such 
inquiries  would  often  be  mortifying. 

t  See  Hastings's  Dissertation  on  Musical  Taste,  in  which  work  several  of  the  lead- 
ing thoughts  contained  in  this  address  are  ably  illustrated. 


19 

a  single  voice,  while  the  other,  for  the  most  part, 
requires  a  union  of  many  voices  in  simultaneous 
enunciation.  Still  there  must  be  harmony,  or  we 
shall  have  jargon  instead  of  music.  There  must 
be  articulation,  accent,  and  emphasis,  as  well  as 
harmony  ;  for  "  unless  these  give  a  distinction  in 
the  sounds,  how  shall  it  be  known  what  is  piped 
or  harped  ?"  Those,  therefore,  who  are  destitute  of 
the  necessary  qualifications,  ought  not  to  insist  on 
their  imagined  privilege.  If  this  would  be  too  great 
a  piece  of  self-denial,  then  let  them  cultivate  their 
talents  that  the  Lord  "  may  receive  his  own  with 
usury."  Let  them  not  continue  to  offer  that  "  which 
has  cost  them  nothing,"  or  which  is  "  lame,  or  blind, 
or  torn." 

It  is  evident,  then,  that  the  congregational  mode 
of  singing,  at  least  in  the  present  state  of  musical 
cultivation,  is  defective ;  and  that,  wherever  it  pre- 
vails, the  object  of  the  institution  cannot  be  fully  re- 
alized. On  the  other  hand,  a  well  trained  choir 
have  every  facility  for  producing  the  proper  effect — 
the  rhetorical  effect  of  church  music.  All  the  quali- 
fications necessary  such  a  choir  may  be  supposed  to 
possess ;  and  like  the  accomplished  orator,  they 
may  bring  their  art  to  bear  with  all  its  force  upon 
the  sensibilities  of  their  audience. 

The  objections  which  are  made  to  this  mode  of 
conducting  the  music  of  public  worship,  will  be 
found  to  apply  to  the  character  of  the  choirs  with 
which  our  churches  are  furnished,  to  which  allusion 
has  already  been  made  ; — to  the  abase  of  choirs  and 


20 

not  to  this  special  mode  of  singing.  It  is  readily 
admitted  that  congregational  singing  may  be  a  less 
evil  than  choirs,  as  the  latter  are  frequently  con- 
ducted ;  and  it  is  not  surprising  that  it  should  be 
preferred  to  such  choirs,  by  those  who  have  experi- 
enced their  injurious  effects.  But  let  choirs  be 
formed  of  serious  and  influential  men  ;  let  Chris- 
tians esteem  it  their  duty  to  qualify  themselves  to 
take  the  lead  in  singing ;  and  the  objections  to 
choirs  will  vanish.  Church  music  will  then  rise  to 
that  station  it  ought  to  occupy,  and  become  an 
handmaid  instead  of  a  scourge  to  devotion.  And, 
indeed,  were  music  generally  cultivated  by  Chris- 
tians, the  question  whether  singing  should  be  per- 
formed by  choirs,  or  by  the  congregation  at  large, 
would  hardly  need  discussion.  For  in  this  case  all, 
or  nearly  all,  would  be  able  to  join  and  sing  with 
propriety  and  effect.  Even  in  this  case,  however,  a 
choir  would  still  be  important  to  lead  and  aid  the 
singing  of  the  congregation. 

It  is  necessary,  then,  that  in  every  church  there 
should  be  a  choir  of  cultivated  singers.  How  shall 
these  choirs  be  formed  ?  Shall  the  church  take  the 

r 

lead  in  this  thing  ?  or  shall  they,  as  they  heretofore 
have  done,  give  it  up  entirely  into  the  hands  of 
others,  fold  up  their  arms,  and  then  sit  down  and 
lament  over  its  low  and  degraded  state,  and  wonder 
what  is  the  matter. 

But  there  are  many  objections  against  joining  a 
choir  of  singers.     The  greatest  probably  is,  that  it  is 


21 

not  fashionable  :  it  is  considered  by  many  as  rather 
too  humble  an  office  for  their  station  in  life.  But 
can  any  thing  be  considered  degrading  by  the  Chris- 
tian, which  has  a  tendency  to  promote  the  cause  of 
piety  in  his  own  heart  and  in  the  hearts  of  others  ? 
Dr.  Watts  has  justly  said,  that  singing  the  praises  of 
God  is  more  akin  to  the  worship  of  the  heavenly 
world,  than  any  other  employment  on  earth  ;  and 
shall  Christians  fear  to  degrade  or  lower  themselves 
by  engaging  in  such  an  employment  as  this  ?  Such 
a  spirit  does  not  become  the  Christian.  Such  a  spirit 
had  not  the  royal  psalmist.  Such  a  spirit  will  never 
afford  consolation  on  the  bed  of  death  ;  and  if  we 
should  ever  be  admitted  into  heaven  with  such  a 
spirit,  we  should  be  mere  spectators  there.  For  in 
heaven 

"  Their  golden  harps  they  take, 

Harps  ever  tuned, 

and  with  preamble  sweet 

Of  charming  symphony,  they  introduce 
Their  sacred  song,  and  waken  raptures  high  : 
No  voice  exempt,  no  voice  but  well  can  join 
Melodious  part ;  such"  spirit  "  is  in  heaven." 

Want  of  time  is  often  urged  as  an  excuse  :  an 
attention  to  singing  would  interfere  with  other  en- 
gagements. But  one  duty  can  never  interfere  with 
another  ;  and  if  God  has  appointed  singing  in  the 
church,  then  it  is  unquestionably  the  duty  of  Chris- 
tians to  devote  so  much  time  to  it,  as  is  necessary 
to  sing  with  decency  and  propriety  :  I  will  not  say 
that  it  is  the  duty  of  every  Christian  ;  but  where  a 
talent  has  been  given  it  should  be  improved.  A 
4 


22 

family  is  sometimes  urged  as  an  objection  to  uniting 
with  a  choir  :  the  man  has  married  a  wife  and  can- 
not come  ;  he  must  now  relinquish  his  post  to  some 
younger  person  ;  he  desires  to  sit  with  his  family, 
and  thinks  his  presence  is  needed  there.  But  the 
singing  must  be  carried  on  ;  and  if  what  has  now 
been  said  is  correct,  it  ought  to  be  carried  on  by  a 
choir ;  by  a  choir  very  different  from  those,  which, 
in  too  many  instances,  have  had  the  lead  of  music 
in  the  churches  ;  by  a  choir  composed  of  serious, 
religious  persons — of  those  whose  character  is 
respected,  whose  judgment  is  matured,  and  whose 
example  will  have  an  important  influence  on  others. 
It  is  not,  indeed,  the  duty  of  every  such  person  in  a 
congregation  to  become  a  member  of  the  choir  ;  for 
all  are  not  needed.  But  it  is  the  duty  of  some  ; 
and  circumstances  must  determine  who  these  are. 
In  general,  it  may  be  observed,  that,  where  God  has 
given  a  good  natural  capacity  for  music,  the  duty 
is  plain  ;  and  a  good  natural  capacity  for  music  is 
much  more  common  than  is  generally  supposed. 
Let  the  question  be  asked  then,  "  Do  I  possess  a 
capacity  to  be  useful  in  this  department ;  and  am  I 
needed  there  ?  is  my  voice,  or  is  my  influence,  or  my 
example,  needed  there  ?"  And  if  we  can  be  of  more 
service  to  the  church  in  the  choir  than  in  the  pew, 
let  the  sacrifice  be  made  :  let  it  be  made  on  the  same 
principle  that  it  is  done  by  the  minister  ;  for  he  leaves 
his  family,  although  his  presence  may  be  as  impor- 
tant to  them,  as  in  the  other  case.  The  church  calls 
for  his  services  elsewhere,  and  he  obeys  the  call. 


23 

It  will  not  do  to  say  that  we  can  be  of  as  much 
service,  and  sing  as  well  in  the  pew  as  when  with 
the  choir.  This  is  not  the  fact.  Those  who  sing, 
must  sing  together  ;  they  must  sit  together,  at  least 
until  music  is  more  generally  understood,  or  there 
can  be  neither  time,  nor  tune,  nor  force,  nor  ex- 
pression. The  rhetoric  of  music  can  in  no  other 
way  be  brought  to  bear  upon  the  heart. 

It  is  often  said  "  I  should  willingly  join  the  choir, 
but  I  have  no  musical  talent."  This  is  indeed  a 
good  excuse,  if  the  assertion  is  strictly  true  :  but 
probably  it  is  not  true,  in  one  case  out  of  a  hundred. 
A  capacity  for  music  is  much  more  common  than  is 
generally  supposed.  If  no  more  attention  was  be- 
stowed upon  the  art  of  reading  than  is  bestowed 
upon  the  art  of  music,  good  readers  would  be  as 
scarce  as  good  singers  are.  Nature,  it  is  believed, 
does  generally  bestow  the  capacity.  True,  it  is 
more  vivid  in  some  than  in  others  ;  but  if  it  lie 
totally  neglected  in  any,  it  may  in  time  become 
extinct.  Probably  there  is  not  a  congregation  in 
this  city  but  possesses  the  materials  for  a  good  choir. 
They  may  be  deficient,  indeed,  in  taste  ;  but  almost 
every  other  qualification  could  be  easily  found.  If 
it  be  said  that  high  culture  is  important ;  it  is  not 
denied  that  it  is  so  ;  but  it  is  perhaps  not  more  im- 
portant than  it  is  to  eloquence  in  the  preacher.  A 
man  can  speak,  and  speak  to  the  purpose,  although 
ignorant  of  the  graces  of  oratory  ;  and  a  man  may 
easily  be  brought  to  sing,  to  his  own  edification, 
and  to  the  edification  of  others,  although  ignorant  of 


24 

many  of  the  refinements  in  music.  A  choir  formed 
from  materials  now  existing  in  the  church,  might 
readily  be  brought  to  resemble  the  minister,  who, 
with  a  good  knowledge  of  the  word  of  God,  good 
common  sense,  sound  judgment,  and  a  heart  warm 
with  love  to  God  and  the  souls  of  men,  is  yet,  in  a 
great  degree,  destitute  of  oratorical  powers.  But 
wiio  would  not  prefer  the  preaching  of  even  such 
a  man  to  the  eloquence  of  a  Demosthenes  or  a 
Chatham,  unaccompanied  by  more  important  quali- 
fications ;  and  who  would  not  prefer  a  choir,  made- 
up  of  devout  persons,  capable  of  singing  in  a  decent, 
sober,  and  impassioned,  manner  to  the  choicest 
Italian  band  from  the  theatre,  or  even  to  many  of 
the  undisciplined  choirs  which  now  take  the  lead 
in  our  churches  ? 

If  it  be  asked  why  all  should  cultivate  music, 
since  so  small  a  proportion  are  needed  for  the  choir  ; 
it  may  be  answered,  that,  although  the  singing 
should  be  conducted  by  a  choir,  it  is  not  intended 
that  it  should  be,  at  all  times,  exclusively  confined 
to  them  :  on  the  contrary,  it  may  be  desirable  that 
others,  sitting  below,  should  join,  provided  they 
are  qualified  to  do  this  with  propriety  and  effect.* 
Some  degree  of  cultivation  is  also  necessary  to 
enable  us  to  enter  into  the  spirit  of  singing,  and  to 
derive  benefit  to  ourselves  from  the  performances 
of  others.  It  is  so  in  every  fine  art.  Besides, 
singing  is  made  a  part  of  private  and  social  worship. 

*  Devotional  effect  undoubtedly  may  be  sometimes  promoted,  as   in  a  psalm  or 
hymn  of  exalted  praise  to  God;  by  the  lull  chorus  of  a  well  instructed  congregation. 


25 

The  family,  the  vestry,  the  conference,  the  prayer 
meeting,  the  sabbath  school,  and  the  monthly  con- 
cert, all  derive  additional  interest  from  a  hymn  of 
praise.  The  nature  and  design  of  these  meetings 
require  that  they  be  conducted  in  a  different  manner 
from  the  public  services  of  the  sabbath.  They 
should  be  more  easy,  social,  and  familiar  :  and  as 
the  formality  of  a  regular  sermon  is  dispensed  with 
on  such  occasions,  and  a  more  familiar  style  of 
address  adopted,  both  in  preaching  and  in  praying, 
so  also  it  should  be  in  singing.  That  the  services  of 
all  are  not  absolutely  needed,  therefore,  is  no  reason 
why  all  should  not  cultivate  sacred  music,  so  far  as 
to  be  able  to  take  a  part  in  this  exercise  whenever 
their  services  are  needed  ;  and  so  far  as  to  be  able 
properly  to  appreciate  the  performances  of  others, 
and  to  derive  benexit  from  them. 

Every  member  of  a  congregation,  and  especially 
every  member  of  a  church,  ought  to  feel  an  interest 
in  the  singing,  as  well  as  in  the  other  public  exercises 
of  religion.  But  how  often  do  we  hear  it  said  by 
Christians,  "  Oh  !  I  can't  sing — I  have  nothing  to 
do  with  the  singing."  "  You  must  take  care  of  that !" 
Now  here  is  the  very  root  of  the  evil — the  very  bane 
of  church  music.  A  Christian  nothing  to  do  with 
singing !  And  yet  anticipate  that  heaven  where  they 
cease  not  day  nor  night  to  chant  the  praises  of  the 
Redeemer !  What  would  be  thought  of  the  Christian 
who  should  say  the  same  of  public  prayer  ?  If  sing- 
ing be  a  devotional  exercise — as  much  so  as  prayer  ; 
then  every  Christian  is,  or  ought  to  be,  deeply  inter- 


26 

ested  in  it ;  and  every  Christian  has  duties  to  per- 
form in  relation  to  it.  The  only  excuse  that  Chris- 
tians who  wholly  neglect  to  cultivate  church  music, 
can  give  for  their  neglect,  is  that  of  the  servant  to 
whom  was  committed  one  talent :  "  1  went  and  hid 
thy  talent  in  the  earth." 

Enough  has  probably  been  said  to  show  of  what 
persons  a  choir  of  singers  should  be  composed.  It 
is  not  said,  it  will  be  observed,  that  a  man  posses- 
sing other  qualifications,  is  to  be  excluded  from 
singing,  on  the  ground  that  he  is  not  a  pious  man. 
On  the  contrary,  the  services  of  such  a  man  may  be 
important.  Persons  of  this  description  should  be 
invited  and  urged  to  sing  :  it  is  their  duty  to  sing, 
to  pray,  to  repent,  to  believe  ;  and  to  do  all  these 
things  in  the  spirit  which  the  Gospel  requires  ;  and 
they  are  inexcusable  if  they  neglect  them.  Besides, 
what  can  be  more  pleasing  than  to  see  the  young, 
especially,  meet  together,  and  from  proper  motives, 
and  with  proper  feelings,  engage  in  this  exercise  ? 
But  it  is  said  that  singing,  so  far  as  it  relates  to 
public  worship,  should  be  in  the  hands  of  the  church, 
and  that  in  every  choir  there  should  be  a  prevailing 
influence  of  piety.  This  should  ever  be  deemed 
indispensable.* 

Every  choir  thus  formed,  should  have  a  competent 

*  The  reasons  for  this  are  manifest.  The  unsanetified  heart  has  no  pious 
sympathies  in  common  with  the  sanctified.  While  the  one  melts  in  the  language  of 
penitence,  the  other  remains  obdurate.  While  the  one  rejoices  in  a  sweet  sense  of 
pardoning  mercy,  the  other  stands  forth  unhumbled  and  unmoved.  While  the  one 
puts  forth  the  full  overflowings  of  grateful  praise,  the  other  holds  forth  perhaps  a 
boldness  of  expression  which  seems  to  say,  "  Who  is  the  Almighty  that  we  should 
fear  him  V 


27 

leader — if  possible,  a  pious  man  ;  at  least  a  man  of 
intelligence,  taste,  judgment,  and  influence  ;  one  who 
is  well  acquainted  with  the  whole  subject  of  church 
music,  and  who  is  capable  of  instructing  others. 
He  should  study  Watts,  if  Watts  be  the  book  used, 
and  indeed  the  whole  range  of  lyric  verse  and  mu- 
sical expression,  as  regularly  as  a  player  studies 
Shakspeare,  or  the  histrionic  art.  His  soul  should 
swell  with  the  sentiment  of  the  poet ;  and  that 
reading  and  that  style  of  performance  should  be 
adopted,  which  are  best  calculated  to  enforce  it  upon 
the  hearts  of  others.  He  should  be  as  punctual  in 
his  attendance  as  the  clergyman :  and  to  him  every 
member  of  the  choir,  should  be  in  strict  subjection. 
Such  a  laborer  is  worthy  of  his  hire :  and  although, 
like  the  minister,  he  should  be  influenced  bv  nobler 
motives,  yet  it  is  proper  that  he  should  receive  a 
suitable  compensation ;  for  much  time  and  exertion 
he  must  necessarily  devote  to  the  duties  of  his  office. 
The  services  of  such  a  leader  have  not  been  properly 
appreciated  or  rewarded. 

Let  the  choir  meet  occasionally  for  practice,  per- 
haps as  often  as  twice  a  week,  until  they  have  made 
considerable  progress  ;  and  choirs  formed  from  ma- 
terials now  existing  in  the  churches,  may  find  it 
necessary  to  meet  even  more  frequently  than  this,  for 
a  short  time.  But  they  should  meet,  not  so  much  for 
the  purpose  of  learning  new  tunes,  as  for  the  practice 
of  such  tunes  as  are  already  known,  in  connexion 
with  psalms  or  hymns,  and  with  reference  to  devo- 
tional effect ;  keeping  constantly  in  view  the  great 


28 

design  of  church  music,  the  solemnity  of  public  wor- 
ship, and  the  responsibility  of  their  station,  as  leading 
and  greatly  influencing  the  devotion  of  others.  Nor 
is  there  any  good  reason  why  such  meetings  may  not 
be  profitable  and  pleasant ;  for  if  singing  be  culti- 
vated as  a  devotional  exercise,  why  may  not  singing 
meetings  be  as  profitable  as  prayer  meetings,*  both 
to  the  choir  and  to  the  congregation.  A  choir 
should  always  feel  that  the  devotions  of  the  congre- 
gation, so  far  as  this  exercise  is  concerned,  depend 
wholly  upon  them  ;  and  let  them  not  forget  what  an 
important  influence  their  performances  may  have 
upon  the  other  exercises  of  public  worship  ;  that, 
under  God,  they  have  it  in  their  power  ordinarily  to 
deepen  impressions  which  divine  truth  may  have 
made,  or  to  scatter  and  dissipate  those  pious  feel- 
ings, which  the  minister  has  been  instrumental  in 
exciting. 

A  thorough  and  permanent  reformation  in  church 
music,  however,  cannot  be  effected,  but  by  a  grad- 
ual process.  Children  must  be  taught  music,  as 
they  are  taught  to  read.f  Until  something  of  this 
kind  is  done,  it  is  in  vain  to  expect  any  great  and 
lasting  improvement.  Christian  parents,  especially, 
should  feel  it  their  duty  to  have  their  children  in- 
structed in  such  a  manner,  as  that  when  they  grow 

*  Why  may  they  not  sometimes  be  profitably  united  ?  Every  person  who  feels  in 
the  true  spirit  of  singing,  would,  at  least,  desire  to  invoke  the  divine  blessing  at  all 
these  special  meetings  for  cultivation. 

t  "  Not  only  should  persons  make  conscience  of  learning  to  sing  themselves,  but 
parents  should  conscientiously  see  to  it,  that  their  children  are  taught  this  among 
other  things,  as  their  education  and  instruction  belong  to  them."— Edwards. 


29 

up,  and  become  pillars  of  the  church  in  other  re- 
spects, they  may  also  be  so  in  this.  It  is  a  mistake 
fatal  to  the  interests  of  church  music,  to  suppose  that 
singing  cannot  be  taught  in  childhood.  In  this  re- 
spect, it  is  analogous  to  the  art  of  reading.  If  this 
be  not  acquired  until  the  age  of  eighteen  or  twenty 
years,  it  is  probable  it  will  always  be  neglected  :  so 
if  music  be  not  taught  in  childhood,  much  progress 
must  not  be  expected  afterwards. 

As  singing  schools  have  heretofore,  in  many  in- 
stances, been  conducted,  it  may  be  doubted  whether 
any  benefit  has  been  derived  from  them.  A  number 
of  young  persons  who  are  desirous  of  spending  their 
evenings  together,  with  quite  other  objects  in  view 
than  that  of  the  religious  cultivation  of  music,  have 
recourse  to  a  singing  school.  A  teacher  is  employed, 
who  is,  perhaps,  destitute  of  almost  every  important 
qualification ;  and  who  is  about  as  fit  to  teach  his 
pupils  to  pray  or  to  preach,  as  to  teach  them  to 
sing.*  He  supports  neither  order  nor  dignity  in  the 
school.  A  few  indifferent  tunes,  perhaps,  are, 
parrot-like,  committed  to  memory,  and  executed 
without  just  time,  correct  intonation,  or  the  least 
attention  to  the  nature  of  the  song,  or  the  import  of 
the  words.  The  sentiment,  indeed,  is  wholly  disre- 
garded;  and  the  most  solemn  and  affecting  words 
are  used  as  a  matter  of  mere  accommodation  to  the 
music,  and  are  sung  amidst  unrestrained  levity  and 

*  There  are  indeed  exceptions.  Here  and  there  we  find  a  teacher  qualified  for 
his  station  ;  and  in  some  instances  in  our  country,  piety  and  talent  have  been  devoted 
to  this  subject.  Wherever  there  is  such  a  teacher,  let  him  be  encouraged  ;  and  let 
every  church  make  exertions  to  obtain  the  services  of  such  a  man. 

5 


30 

folly.  After  a  few  weeks  practice  of  this  kind,  the 
pupils  go  into  the  church,  not  to  assist  in  the  wor- 
ship of  God,  but  to  make  an  exhibition  of  their  mu- 
sical acquirements,  and  to  draw  forth  the  applause  of 
the  people.  They  introduce  their  new  tunes,  drive 
away  from  the  choir  those  persons  who  have  pre- 
ceded them  in  a  similar  course  of  instruction  and  prac- 
tice, and  by  their  light  and  inappropriate  performan- 
ces, banish  even  the  appearance  of  devotion  from  this 
exercise.  To  all  this  the  church  have  submitted,  and 
have  called  it  the  cultivation  of  sacred  music. 

The  want  of  time  to  teach  children  music,  can- 
not with  propriety  be  offered  as  an  excuse.  A 
very  small  proportion  of  their  time  for  two  or  three 
years,  at  the  age  of  from  ten  to  fifteen,  would  be 
sufficient  ;  and  the  practice  of  music  might  be 
pursued  at  this  age  in  such  a  manner  as  to  afford 
relief  from  other  studies,  and  be  a  pleasant  and 
agreeable  employment.  When  the  church  shall 
take  this  subject  into  its  own  hands,  when  children 
shall  be  taught  music,  when  choirs  shall  be  compos- 
ed of  serious  and  proper  persons  who  shall  cultivate 
music  as  a  religious  duty,  when  singing  shall  be 
considered  as  much  of  a  devotional  exercise  as 
prayer ;  then  the  evils  which  have  been  so  long 
existing,  will  speedily  be  removed,  and  church 
music  will  be  performed  in  some  measure  as  it 
ousht  to  be.  Christians  on  earth  will  imitate  the 
redeemed  in  heaven,  and  the  praises  of  God  in  the 
church  below,  will  be  a  faint  shadow  of  the  trium- 
phant strains  which  animate  the  heavenly  choir. 


31 

The  abuses  of  which  we  now  complain,  are  wholly 
to  be  attributed  to  the  apathy  of  the  church  on  this 
subject.  The  difficulties  and  disputes  that  so  fre- 
quently occur  in  choirs  ;  the  gross  violations  of  the 
sabbath  which  grow  out  of  the  existing  state  of 
things ;  the  whistling  and  talking  and  levity,  so 
often  observable  in  the  singers'  seats  ;  the  thought- 
less and  profane  manner  in  which  the  name  of  God 
is  often  used  ;  all  the  solemn  mockery  of  singing  as 
it  now  exists,  is  chargeable  to  the  church.  The 
guilt  lies  at  her  door,  and  the  remedy  is  in  her 
hands  ;  and  yet,  alas !  Christians  and  Christian 
ministers  too,  suffer  this  thing  to  go  on,  without 
lifting  a  finger  to  stay  its  progress,  and  without 
seeming  to  know  or  desiring  to  know  what  their 
duty  is  in  relation  to  it,  or  whether  they  have  any 
responsibility  in  the  case  whatever. 

The  subject  of  instrumental  accompaniment  is  one 
of  very  great  importance  ;  both  because  instruments 
are  generally  used,  and  because  they  may  be  em- 
ployed to  great  advantage.  Indeed  it  is  impossible, 
in  ordinary  cases,  for  good  vocal  music  to  exist 
without  the  support  of  instruments.  In  every  choir 
of  singers,  let  their  progress  be  ever  so  great,  a  ju- 
dicious accompaniment  seems  to  be  indispensable  to 
complete  success.  Such  an  accompaniment  guides, 
sustains,  strengthens,  and  relieves,  the  vocal  parts. 
It  promotes  good  tone  and  correct  intonation,  and 
renders  vocal  music  pleasing  and  effective.  But, 
great  as  are  the  advantages  to  be  derived  from  in- 


32 

stru mental  accompaniment,  how  seldom  are  we 
able  to  realize  them  in  church  music  !  The  art  of 
accompaniment  seems  to  be  as  little  understood  and 
as  much  abused  by  instrumentalists,  as  is  the  art  of 
singing  by  vocalists.  Instead  of  accompanying  the 
singing,  instrumental  performers  often  take  the  lead 
of  it.  Instead  of  playing  in  a  soft  and  simple 
manner,  and  in  unison  with  the  voice,  they  will, 
for  the  sake  of  distinction,  make  as  much  noise  as 
possible,  raise  their  instruments  an  octave  above 
the  pitch,  and  introduce  a  multitude  of  shakes  and 
flourishes  and  graces,  falsely  so  called,  which  are 
wholly  out  of  place,  and  are  equally  offensive  to 
correct  musical  taste  and  religious  propriety.  With 
such  a  ridiculous  attempt  at  accompaniment,  in  vain 
would  even  the  choir  of  angels  who  announced  the 
birth  of  the  Saviour  to  the  shepherds  on  the  plains 
of  Bethlehem,  swell  the  chorus  of  "  Glory  to  God 
in  the  highest."  When  instruments  are  employed 
as  an  accompaniment,  they  should  always  be  made 
subordinate  to  the  vocal  parts,  with  which  they 
should  combine  in  a  harmonious  and  delicate  manner. 
They  should  never  predominate,*  or  be  so  prominent 
as  to  attract  the  attention  of  the  audience,  or  draw 
off  the  mind  from  the  subject  of  the  poetry.  Indeed, 
unless  they  can  assist  to  enforce  the  sentiment  of 
the  words  upon  the  heart,  they  are  worse  than 
useless.  But  this  is  what  they  are  designed  to  do, 
and  when  properly  used  are  capable  of  doing.     How 

*  In  some  cases  where  the  accompanist  has  to  do  with  untutored  voices,  he  is 
compelled  to  put  forth  some  strength  to  control  them ;  and  thus  far  he  must 
transcend  the  limits  which  the  art  properly  assigns  to  him. 


S3 

different  is  the  effect  produced  by  them  as  they  are 
frequently  used  in  our  churches  ! 

The  instruments  usually  employed  in  church  music 
are  either  the  organ,  or  violins,  violincellos,  clarinets, 
flutes,  &:c.  There  are,  however,  very  serious  objec- 
tions to  the  use  of  the  latter  instruments.  They  re- 
quire much  time  and  attention  to  keep  them  in  order 
and  in  tune  ;  and  it  frequently  becomes  necessary, 
or  is  thought  to  be  so,  to  tune  or  repair  them,  while 
the  congregation  are  assembling,  much  to  the  annoy- 
ance of  those  who  desire  to  be  left  wholly  to  their 
own  reflections,  at  such  a  season,  to  lift  up  their 
hearts  to  God  in  secret,  or  to  fix  their  minds  upon 
some  serious  subject  as  preparatory  to  the  com- 
mencement of  public  worship  ;  and  it  is  sometimes 
the  case  that  we  hear  the  keys  snapping  or  the  strings 
thrumming,  in  prayer  or  sermon  time.  The  least 
objectionable  and  the  most  useful  of  these  instru- 
ments, is  the  violincello.*  But  were  they  in  the 
hands  of  such  musicians  as  was  the  sweet  psalmist 
of  Israel,  the  existing  objections  to  any  of  them 
would  be  done  away. 

The  organ  is  certainly  the  most  valuable  instru- 
ment for  accompanying  church  music.  Its  fixed 
intonation,  its  facilities  for  harmonic  combinations, 
its  lofty  and  solemn  tones,  its  adaptation  to  the  per- 
formance of  soft  and  loud  passages,  and  the  circum- 
stance of  its  always  being  in  order  and  ready  for 
use,  give  it  a  decided  advantage  over  every  other 

*  The  violin,  were  it  not  so  wretchedly  abused,  would  be  equally  valuable.  Of 
all  instruments,  this  is  allowed  to  be  capable  of  the  most  varied  expression.  But 
at  present  it  has  too  many  irrelevant  associations. 


34 

instrument.  The  organ  also  has  the  benefit  of  strong 
favorable  associations ;  as  it  belongs  almost  exclu- 
sively to  the  church,  and  is  seldom  employed  in  any 
other  than  sacred  music  ;  whereas  the  violin  is  apt 
to  transport  us  to  the  ball  room  or  the  theatre,  the 
flute  to  the  parlour,  and  the  clarinet  and  bassoon  to 
the  field.  When  under  the  hand  of  a  man  who 
understands  his  art,  and  feels  his  subject,  the  organ 
possesses  a  charm  that  is  irresistible,  and,  at  the 
same  time,  subordinate  to  sentiment.  It  even  ren- 
ders enunciation  more  distinct,  and  the  interest  and 
expression  of  the  subject  more  exalted  and  refined. 
It  is  a  great  mistake  to  suppose  that  an  organ  must 
necessarily  destroy  vocal  expression  ;  or  that  because 
there  is  an  organ,  there  is  therefore  no  need  of 
vocal  performance.  The  only  proper  use  of  the 
organ  is  to  accompany  and  assist  the  choir.  Its 
use  may  be  somewhat  different,  however,  in  most 
of  those  societies  where  singing  is  carried  on  by  the 
whole  congregation  ;  because,  while  there  is  here  no 
vocal  expression  to  destroy,  there  is  much  discord 
which  it  is  well  to  drown.  The  organist  in  such  a 
case  is  quite  excusable  if  he  permit  the  lofty  tones 
of  his  noble  instrument  to  prevail.*  Instead  of 
relaxing  exertions,  therefore,  to  improve  vocal  music 
where  an  organ  has  been  introduced,  this  very 
circumstance    should  be  a  powerful  stimulus  to  in- 

*  Dr.  Burney  says,  that  "  the  greatest  blessing  to  lovers  of  music  in  a  parish 
church,  is  to  have  an  organ  in  it  sufficiently  powerful  to  render  the  voices  of  the 
clerk,  and  of  those  who  join  in  his  out-cry,  wholly  inaudible."— His.  Mus.  vol. 
3.  p.  60.  And  yet  how  shamefully  deficient  must  be  the  high  praises  of  Zion,  even 
under  such  circumstances ! 


35 

creased  efforts  on  account  of  the  great  assistance 
which  may  be  derived  from  the  instrument. 

But  valuable  as  the  organ  is,  how  seldom  do  we 
find  it  well  managed  !  How  seldom  are  we  able  to 
realize  its  usefulness  !  They  only  who  know  its 
inestimable  value  when  judiciously  employed,  and 
have  felt  its  thrilling  influence  in  psalmody,  are 
sensible  to  what  an  extent  its  powers  are  prostituted 
and  its  use  perverted. 

The  abuse  of  the  organ  may  in  almost  all  cases 
be  traced  to  the  character  and  qualifications  of  the 
organist.  Mere  musical  talent  will  no  more  enable 
a  man  to  play  than  sing  church  music  appropriately  ; 
and  probably  Handel,  or  Bach,  two  of  the  greatest 
performers  upon  the  organ  that  ever  lived,  would 
have  been  as  unfit  to  accompany,  as  Braham  or 
Madam  Catalani  would  be  to  lead,  a  choir  of  singers 
in  public  worship.  Execution,  or  a  mere  ability  to 
play  expertly  upon  his  instrument,  is  probably  not 
more  important  to  the  organist,  than  studied  elocution 
is  to  the  preacher  ;  and  yet  this  is  the  only  qualifica- 
tion which  is  generally  required.  A  mere  trial  of 
skill  often  determines  the  choice  ;  and  the  man  who 
excels  in  executing  the  most  difficult  passages  upon 
his  instrument,  is  appointed  to  the  office. 

It  would  be  strange  indeed,  if  when  mere  human 
eloquence  was  required  in  a  minister  of  the  Gospel, 
the  cause  of  the  church  should  not  suffer.  It  is  no 
less  certain  that  when  an  ability  to  play  well  upon 
his  instrument  is  the  only  qualification  looked  for  in 


36 

an  organist,  the  cause  of  church  music  will  suffer. 
A  minister  must,  indeed,  be  able  to  speak  acceptably 
in  the  pulpit ;  and  if  he  is  eloquent,  and  at  the  same 
time  possesses  the  other  requisite  qualifications,  it  is 
so  much  the  better.  So  with  the  organist :  he  must 
be  able  to  play  in  a  plain  and  appropriate  style, 
which  it  is  not  difficult  to  acquire  ;  and  if  he  be  a 
finished  performer,  it  is  all  the  better,  provided  he 
possesses  the  other  more  important  qualifications. 

What  these  qualifications  are,  must  occur  to  the 
mind  of  every  person  who  considers  the  important 
station  the  organist  occupies  in  the  public  worship 
of  God,  and  the  influence  he  is  capable  of  exerting, 
through  the  medium  of  his  instrument,  upon  the 
feelings  of  the  audience.  He  should  be  a  pious 
man,  or  at  least  one  who  has  a  deep  sense  of  the 
solemnity  of  public  worship.  He  should  be  a  man 
of  quick  sensibility,  or  he  will  neither  enter  into  the 
spirit  of  the  words  sung,  nor  of  the  other  exercises 
of  the  day.  He  must  be  a  man  of  good  judgment, 
or  he  will  make  the  most  fatal  mistakes  in  accom- 
panying such  hymns  as  call  forth,  in  different  stan- 
zas, emotions  of  a  different  character.  He  should 
understand  the  nature  of  his  instrument  and  the 
object  of  its  introduction  into  the  church — as  an  ac- 
companiment to  the  voices,  subservient  to  vocal 
effect,  or  rather  designed  to  promote  it ;  and  while 
he  acknowledges  his  instrument  to  be  subordinate  to 
rocal  music,  he  should  acknowledge  himself  to  be 
subordinate  to  the  leader  of  the  choir,  on  whom  the 


37 

responsibility  of  the  whole  performance  depends.* 
Were  such  organists  employed,  there  would  be  fewer 
complaints  of  loud  and  unmeaning  playing  ;  of  long, 
flourishing,  and  fanciful  interludes,  foreign  to  the 
subject  and  unfit  for  the  church  ;  of  difficulties  be- 
tween organists,  and  singers,  and  trustees,  and  com- 
mittees;  and  of  a  thousand  other  ills  that  church 
music  now  is  heir  to. 

Yet,  after  all  we  have  said  in  favor  of  the  organ, 
it  will  hardly  be  expected,  that,  in  the  present  state 
of  the  churches,  it  can  be  very  generally  introduced 
with  success.  Many  congregations  in  the  country 
feel  scarcely  able  to  support  their  minister,  and  some 
are  nearly  or  quite  destitute  of  preaching.  Some 
which  might  purchase  an  organ,  would  not  be  able 
to  procure  a  competent  person  to  manage  it;  and 
among  those  who  were  thus  able,  a  good  leader  of 
the  choir  might  not  be  found.  It  is  necessary  for  a 
society  to  count  the  cost,  in  these  matters,  and  to 
make  a  right  estimate  of  probable  consequences,  be- 
fore they  conclude  to  furnish  themselves  with  this 
instrument.  The  best  things  are  often  the  most 
liable  to  abuse. 

A  few  very  brief  remarks  on  the  nature  of  musical 
adaptation,  and  on  the  character  of  the  music  best 
calculated  to  promote  devotional  feeling,  may  not  be 
improper. 

The   subject   of    adapting    music   to   words    in 

*  This,  however,  must  depend  on  circumstances.  Where  there  is  a  good  organist 
and  an  ignorant  leader  of  the  choir,  the  opposite  rule  must  be  adopted  through  ne  • 
cessity  :  but  this,  at  best,  is  but  a  bad  state  of  things. 

6 


38 

metrical  psalmody,  seems  to  be  in  its  infancy. 
The  musician  has  done  but  very  little  by  his  com- 
positions to  enforce  the  sentiment  of  the  poet — if  we 
except  some  few  cases  of  particular  adaptation.  On 
the  one  hand,  the  poet  has  written  without  reference 
to  musical  effect ;  and  on  the  other,  the  musician 
has  composed  with  very  little  attention  to  rhetorical 
effect.  And  it  seems  difficult  to  make  much  progress 
in  this  department  while  we  are  obliged  to  sing  so 
many  different  hymns  to  the  same  tune.  Time  does 
not  permit  us  to  pursue  this  subject.  The  principle 
of  adaptation,  however,  to  which  we  now  allude, 
and  the  difficulties  attending  it  in  the  present  state 
of  church  music,  may  be  illustrated  by  one  or  two 
familiar  examples.  If  we  attend  to  the  well  known 
doxology  of  Dr.  Watts,  "  To  God  the  Father,  God 
the  Son,"  &c.  sung  to  the  tune  of  Old  Hundred,  as 
it  very  commonly  and  appropriately  is  in  the  pres- 
ent state  of  musical  improvement,  we  shall  find  that 
the  particles  to  and  the,  are  quite  as  conspicuous  as 
the  principal  words  of  the  line.  The  evil  in  this 
case  is,  that  the  very  words,  as  sung,  have  a  ten- 
dency to  obscure  the  sentiment. 

Example. 


e=ilii=i^i"y M 1 1 


To     God  the       Fa  -  ther,    God  the         Son, 

Now  suppose  we  employ  a  different  melody,  a 
melody  adapted  to  the  comparative  force  of  each 
word  and  syllable  ;  the  advantage  will  he  apparent. 


39 


£i 


mmm 


To     God,  the     Father,  God  the       Son, 


Again  ;  suppose  we  sing  to  the  excellent  old  tune 

of  Winchester  the  following  lines. 

"  Go,  preach  my  gospel,  saith  the  Lord  ; 
Bid  the  whole  earth  my  grace  receive  :" — 

we  shall  find  that,  from  the  prolonged  notes  and  in- 
appropriate melody,  the  significance  of  the  words 
will  be  wholly  lost. 


Go,  preach  my        gospel,     saith  the 


Lord ; 


3 

Bid 


-©— 


:=izidz±=§3 


the  whole    earth  my         grace         re    -    ceive. 


Whereas,  if  we  employ  a  melody  written  with 
reference  to  the  sentiment,  the  music  may  be  made 
to  perform  its  entire  office. 


For. 


Mez. 


Hi-S^liililjSi^ 


Go,  preach  my  gospel,  saith 

For.  ^  Mez. 


the       Lord ; 


&rr  Til  j i i^mm 


Bid       the     whole  earth 


my 


grace      re     -     ceive. 


These  examples  are  by  no  means  striking  ;  but 
they  are  sufficiently  so  to  give  some  idea  of  the  im- 
portance of  particular  adaptation. 


40 

The  subject  of  lyric  poetry,  in  close  connexion 
with  that  of  adaptation,  is  one  which  has  been  very 
generally  neglected.  Music  addresses  itself  more 
especially  to  the  feelings  ;  but  many  of  the  hymns 
in  common  use  are  addressed  almost  exclusively  to 
the  understanding,  and  are  argumentative,  or  didac- 
tic, or  narrative,  in  their  character.  Such  hymns, 
perhaps,  are  not  quite  as  unfit  for  musical  expression 
as  a  demonstration  of  Euclid,  or  Edwards  on  the 
Freedom  of  the  Will,  or  Hume's  History  of  England  ; 
but  it  is  not  unfrequently  the  case,  that,  by  an  inju- 
dicious selection  of  this  kind,  the  contemplated  effect 
of  singing  is  wholly  lost.  Probably  one  third,  or 
even  more,  of  the  hymns  in  common  use  are  unfit 
for  musical  purposes  ;  and  perhaps  in  no  other  way 
can  ministers  of  the  Gospel  do  more  to  advance  the 
cause  of  church  music,  than  by  an  attention  to  this 
subject.* 

Here  it  may  not  be  improper  to  offer  a  few  re- 
marks on  the  selection  of  tunes.  One  of  the  most 
important  characteristics  of  a  good  psalm  tune  is 
simplicity,  or  such  an  arrangement  with  respect  both 
to  melody  and  harmony,  as  shall  render  the  design 
intelligible,  and  the  execution  easy.  Solemnity  is 
no  less  important.!     But  how  often  do  we  find  tunes 

*  See  on  this  subject  the  Christian  Spectator  for  1825. 

t  The  rule  laid  down  for  church  music  in  England,  nearly  a  thousand  years  ago, 
was,  "  Simplicem  sanctamque  melodiam,  secundum  morem  ecclesiae,  sectentur.''' 
Let  them  observe  a  simple  and  sacred  melody,  after  the  manner  of  the  church.— Spelman. 
Concil.Vol.  l.p.248. 

"  In  church  music,  curiosity  and  ostentation  of  art,  wanton,  or  light,  or  unsuitable 
harmony,  such  as  only  pleaseth  the  ear,  and  doth  not  naturally  serve  to  the  very 


41 

the  most  complicated  and  difficult  both  as  it  regards 
melody  and  harmony,  or  florid  and  rapid  move- 
ments, chosen  in  preference  to  simple  and  familiar 
airs.  Correct  harmony  is  undoubtedly  important, 
and  should  by  no  means  be  disregarded.  Objections 
to  false  harmony,  however,  will  only  be  felt  by  the 
man  of  musical  taste  and  knowledge.  Nor  would 
objections  to  a  sermon,  on  account  of  its  violations 
of  taste  or  grammar,  exist  in  the  mind  of  the  illite- 
rate man.  "  But  is  it  desirable  that  a  sermon  should 
be  written,  not  only  with  grammatical  accuracy,  but 
with  ease  and  elegance  ?  so  also  it  is  of  compara- 
tive importance,  that  the  musical  compositions  of  the 
church  should  be  such  as  not  to  offend  the  most  cul- 
tivated ear."  Let  there  be  a  small  number  of  sim- 
ple, easy,  and  solemn,  tunes  selected  for  the  use  of 
the  choir  in  public  worship.  New  tunes  may  be 
occasionally  introduced,  but  not  until  they  are  per- 
fectly familiar,  if  possible,  to  the  whole  congrega- 
tion ;*  at  least,  to  the  performers.  A  change  should 
be  constantly  going  on,  but  it  should  be  so  gradual 
as  to  be  almost  imperceptible.  Where  such  a  course 
is  adopted,  the  business  of  the  choir  becomes  corn- 
kind  and  degree  of  those  impressions,  which  the  matter  that  goeth  with  it,  leaveth  or 
is  apt  to  leave  in  men's  minds,  doth  rather  blemish  and  disgrace  that  we  do,  than 
add  either  beauty  or  furtherance  unto  it.  On  the  other  side,  these  faults  prevented, 
the  force  and  efficacy  of  the  thing  itself,  when  it  drowneth  not  utterly,  but  fitly 
suiteth  with  matter  altogether  sounding  the  praise  of  God,  is  in  truth  most  admirable, 
and  doth  much  edify,  if  not  the  understanding,  because  it  teacheth  not,  yet  surely  the 
affection,  because  therein  it  worketh  much.  They  must  have  hearts  very  dry  and 
tough,  from  whom  the  melody  of  the  psalms  doth  not  some  time  draw  that  wherein  a 
mind  religiously  affected  delighteth." — Hooker's  Eccl.  Polity,  Book  5,  §  38. 

*  This,  however,  is  supposing  that  a  congregation  are  somewhat  awake  to  the 
subject. 


42 

paratively  easy,  and  the  congregation  can  more  in- 
telligently attend  to  the  singing. 

The  attitude,  or  position  of  the  body,  in  which 
this  duty  is  performed,  is  comparatively  unimportant, 
though  not  entirely  so.  In  prayer,  rising  from  our 
seats  is  thought  to  be  respectful  and  becoming ;  and 
as  singing  is  an  act  of  praise  to  God,  rising  in  this 
exercise  seems  to  be  equally  proper  and  important. 
"  Under  the  former  dispensation,"  says  Dr.  Collyer, 
u  the  Levites  stood  up  to  praise  the  Lord.  T  cannot 
think  that  we  owe  less  reverence  to  the  great  object 
of  our  thanksgivings  under  this  '  ministration  of 
life,'  than  they  felt  under  the  'ministration  of  death.5 
Singing  is  an  act  of  worship;  but  sitting  is  not  a 
posture  of  worship.  In  heaven  prostration  is  used  : 
surely  on  earth,  less  than  rising  cannot  be  deemed 
due  reverence." 

May  I  hope  to  be  pardoned  for  saying  that  it  is 
much  to  be  regretted  that  no  more  attention  is  paid 
to  music,  as  a  part  of  religious  worship,  in  the  educa- 
tion of  ministers  of  the  Gospel.  "  We  must  of  ne- 
cessity maintain  music  in  schools,"  says  Luther  : 
"  a  schoolmaster  ought  to  have  skill  in  music,  other- 
wise I  would  not  regard  him  ;  neither  should  we 
ordain  young  fellows  to  the  office  of  preaching, 
except  before,  they  have  exercised  and  practised  in 
the  school  of  music." — "  It  is  the  duty  of  those  who 
are  preparing  for  the  ministry,"  1  now  quote  from 
the  Christian  Spectator,  "  to  cultivate  taste  and  skill 
in   sacred   music.      The   preacher   who   is   unable 


43 

to  sing,  will  often  find  this  a  deficiency  that  lessens 
his  power  of  doing  good.  However,  many  have 
piety  and  talents  adequate  to  preach  the  Gospel, 
who  have  not  the  capacity  to  acquire  this  art.  We 
would  not  have  them  on  this  account  turn  aside 
from  the  holy  work.  But  we  would  require  of 
every  candidate  for  the  ministry,  what  a  man  even 
of  very  limited  musical  capacities  certainly  can  do, 
that  he  attend  sufficiently  to  the  subject  to  know 
what  style  of  music  is  suitable  for  public  devotion, 
and  what  collections  contain  such  music.  With 
this  knowledge  alone  he  can  do  much  in  promoting 
good  psalmody  :  he  may,  at  least,  avoid  the  misfor- 
tune and  the  shame  of  recommending  and  encour- 
aging that  which  is  bad.  We  sincerely  regret, 
therefore,  that  there  is  not  more  interest  on  this 
subject  in  our  theological  seminaries. 

"  Every  thing  connected  with  the  interests  of  the 
church  is  a  proper  subject  of  attention  and  study  at  a 
seminary  for  educating  the  guardians  of  the  church. 
If  it  be  important  that  the  praying  and  the  preach- 
ing in  public  worship  be  performed  suitably,  it  is 
also  important  that  the  singing  should  be  performed 
suitably.  And  if  ministers  will  not  watch  over  this 
part  of  the  service,  who  will  ?  But  proper  attention 
will  not  be  given  to  the  subject  in  our  theological 
institutions,  until  they  are  furnished  with  professors 
of  music.  Let  this  be  done  and  we  shall  witness  a 
new  era  in  the  sacred  music  of  our  country." 

May  we  not  confidently  indulge  the  hope,  that 
the  church  is  about  to  awake  to  this  subject ;  and 


44 

that  while  so  much  is  doing  in  the  world  to  advance 
the  cause  of  science  and  religion,  the  songs  of  Zion 
will  lie  no  longer  neglected  ? 

"  Methinks,"  says  Baxter  in  his  Dying  Thoughts, 
"when  we  are  singing  the  praises  of  God  in  great 
assemblies,  with  joyful  and  fervent  spirits,  I  have 
the  liveliest  foretaste  of  heaven,  upon  earth ;  and  I 
could  almost  wish  that  our  voices  were  loud  enough 
to  reach  through  all  the  world,  and  to  heaven  itself. 
Nothing  comforts  me  more  in  my  greatest  sufferings, 
nor  seems  more  fit  for  me,  while  I  wait  for  death, 
than  singing  psalms  of  praise  to  God :  nor  is  there 
any  exercise  in  which  I  had  rather  end  my  life." 


